Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest installment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Julie: In the segregated 1950s, a young man travels across the USA in search of his father. During this quest, he faces not just the monsters which could be straight from Lovecraft, but also the persistent racism in America. Sundown towns, or even counties, which banned black people in southern, but also in northern states would have been it inhospitable enough for a black traveller. And in Lovecraft Country, there be monsters…
Eric: As a fan of the medium, I’m not appalled by the fact that one of the most common verbs in video games is shoot. It’s well-established that most video games are power fantasies that allow for all manner of carnage and destruction. What appalls me, however, is how few video games try to add more verbs to their vocabularies. Spiritfarer is a game about death, but one where you’re not the arbiter of it; you’re just this girl, with this cat, on a river boat. It’s about stewarding souls on a journey through the afterlife, and about making connections instead of destroying them. It knows what it’s doing, too, because it has a verb I cannot recall having experienced in video games in a long time: hug. It’s a game where you get to care for people as well as let go of them when the time is right, and you do both with the simple, warm act of a hug. How beautiful is that?
(And yes, you can hug the cat too.)
Mege: If you are so lucky to live anywhere near Bern, you can go to the Rex cinema and enjoy their August program featuring all of Marylin Monroe’s movies on the big screen. It doesn’t matter if she is in there for only two minutes or if she has the lead – the Rex shows them all. This is not an easy summer, but Ms Baker brings a fresh breeze to the air, hot and cool at the same time. And in September, they are going to show us the best movies with a Morricone soundtrack. Spoilt for choice? You betcha.
Matt: I would be lying if I said that the big budget, star-studded ensemble pieces we used to get half a century ago held no fascination whatsoever. I would love for the follow-up to Kenneth Branagh’s 2017 Murder on the Orient Express to push all those buttons that its ’70s forebears pushed. Branagh seems to have a love for this kind of old-fashioned, glitzy fare… but as much as I try, I look at the trailer for Death on the Nile and I see the same kind of lacquered, leaden imitation of life that I saw in Murder on the Orient Express. There’s something about this kind of endeavour that strikes me as downright necromantic, if not even necrophiliac. Then again, I wasn’t a huge fan of the trailers for Knives Out either, and that one was a hoot. Let’s hope that Kenneth won’t be held back by the enormity of his moustache yet again and that Death on the Nile will be as delicious as we all want it to be.